Daniel Avery – Quick Eternity
(Four Tet Remix)
Kieran Hebden can send the internet into meltdown with a banging new white-label. He can also have festival crowds on the verge of tears with his touching live set. He’s back with another remix, this time reworking Daniel Avery’s “Quick Eternity,” an ambient techno track that closed Song For Alpha earlier this year. Made available on a 12-inch sold at June’s Field Day festival in London, it gets a wider release this week, rightfully bringing its unique radiance to a bigger audience.
The remix is classic Four Tet, a twinkling, almost ambient slice of shimmering house, vaguely tropical and intensely emotional. The faint garage rhythm at the start is a red herring, as there’s barely a kick drum for the next five minutes. Instead, the focus is on the sunny chimes, whistles and keys that swirl in harmony. And then, silence. But the beat returns, the track building into a technoid stomp with a growling synth, paired with a crunchy clap. It’s a bold switch up, resulting in one of the more memorable remixes of recent months.
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Helena Hauff – Qualm
The word “dank” gets thrown around a lot in the club world, usually to play up the music’s psychotropic qualities. But Helena Hauff’s shadowy take on techno is dank in a different way: It’s cold and clammy, evocative not so much of marijuana as moldy basements. That’s definitely the case with “Qualm” and “No Qualms,” a pair of cuts from the Hamburg, Germany producer’s upcoming album, Qualm.
The pair of tracks, sequenced back-to-back on the album, make for a potent one-two punch. On “Qualm,” a rare foray into beatless fare, she lays off the drum machine and sinks deeply into a hazy synthesizer meditation that leaves the bitter scent of burnt wiring lingering in the air. The title has a double meaning: In English, it means a feeling of unease or nausea, while in German, it’s a word for “smoke” or “fumes,” and her wispy waveforms live up to both connotations. With “No Qualms,” though, she unmutes the drums and unleashes one of her characteristically punishing drum grooves—a snapping, swaggering electro cadence run through gritty overdrive, handclaps and woodblocks so heavy they leave welts. The synth melody remains the same, but the transformation is unmistakable: from sickly drift to full-on dungeon techno.
Ted Jasper – Go On
The short but powerful discography of UK house prospect Ted Jasper has already shown the producer to be one willing to paint outside of the lines.
The glitchy tendencies of debut short player ‘Little Bit More‘ set a solid bar for the newcomer, who kick-starts 2018 with another full-bodied delivery of unboxable club work. Between the ambient echoes of “Buried” through rhythmically licked house cut “The Drum,” the EP’s three tracks are guided only by a red line of quality from start to finish.
Based on the warm instrumental values of “Mali Mali,” Ted Jasper can still cater to the approachable house market with his widespread talent, but chooses to carve his own path with a truly diligent second EP of eclectic electronic brilliance.
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